True Glory Research Articles

Ovos mendici medici. Criticism of medical doctors by Johannes Gregor Macer Szepsius (ca.1530-after 1579)

A relationship between literature and medicine has existed since antiquity. A physician often appears in the literary genre of satire as the representative of medicine and is the object of the satire. The barely known humanistic author Johannes Gregor Macer Szepsius (ca.1530-nach 1579) was a humanist who sharply criticized the work and behavior of physicians. We have read, translated and analyzed the satirical verses from his comprehensive poetical work De vera gloria, On the true glory, with respect to content, structure and sources. According to this, physicians are characterized by conceit, ignorance and laziness and therapeutic ineptitude. The comparison with other satirical works shows that much of that which he accuses physicians of is repeated in the history of medicine. Some places are similar to the proverbs from Walter's collection of proverbs from the Middle Ages and others are similar to the invectives of Petrarch. Macer also levels criticism against physicians in his poem about the family tree of his friend Anton Schneeberger that appears in Schneeberger's work De bona valetudine militum conservanda liber.

Rewriting Epic and Redefining Glory in Lucy Hutchinson’s Order and Disorder

Abstract: Since the 1999 rediscovery of Order and Disorder , her epic-length paraphrase of Genesis, the Puritan poet Lucy Hutchinson (1620–1681) has received a well-deserved critical revaluation, drawing attention to her Reformed poetics and her Lucretius translation. However, surprisingly little scholarship has examined Hutchinson’s interest in Virgil’s Aeneid , which takes up substantial space in her commonplace book. In this essay, I argue that Hutchinson’s biblical epic intertextually draws on the Aeneid to contrast the glory of Aeneas and Augustus with that of Abraham, suggesting that true glory consists not of conquest, but of humbly receiving divine blessing and extending it to others.

Essence and Significance of the Christian Faith in the Modern World

The author offers a discursive analysis of the New Testament faith, based on the biblical definition of it (Heb. 11) and the realization in life of the Old Testament patriarch Abraham, a model of faith in the three monotheistic religions. The author's choice fell to Abraham because of the similarity in God's guidance to him in the Old Testament and to the images in the New Testament. This leads to theological conclusions about what the biblically based Christian faith should be today. In the theological-ethical analysis of the successive stages in the stepwise development of the faith, visualized in the author's diagram, the correct definition, meaning and influence of each stage in the real life of the modern Christian stand out. The theoretical aspect of the research uses methods of systematic theology, biblical hermeneutics, egzegetics, as well as scientific research on the concept of "faith" (Vl. Sveshnikov, K. Barth, Al. Men, Vl. Solovov, D. Kirov etc.). The practical aspect of the study is based on the spiritual experience of Abraham, the historical experience of the Church, as well as the personal experience of the author - theologian and clinical psychologist. This text aims to inspire Christians to overcome daily trials by boldly climbing the steps of faith, which also elevates Abraham to the true glory God has given him. God's promise is that trials will never exceed the power of the one who has ben tested. Keywords: Faith, Christianity

About academician Alexander Fedorovich Krasnov (to the 90<SUP>TH</SUP> anniversary of his birth)

There are so few legend people left. A great generation is leaving, enduring adversity and deprivation along with the country, seeing its true glory and greatness. A generation of people devoted to ideas, striving for the best not only for themselves, but also for those around them. Not sparing themselves at work, demanding the same from others. A generation that knows how to dream and not be afraid to turn these dreams into reality. The happiness of Alexander Fedorovich Krasnov is to be the brightest representative of this generation. The staff of the Kuibyshev Medical Institute includes its leader.

Doctor Faustusand the Art of Dying Badly

<i>Doctor Faustus</i>and the Art of Dying Badly

Criticism of physicians by Johannes Gregorius Macer Szepsius (1530-after 1579)

Humanist author J. G. Macer Szepsius (1530-after 1579) born in Szepsi, Upper Hungary (today Slovakia, Moldava and Bodvou) lived in Krakow and was a typical author of Latin occasional poetry. In a part of his work De vera gloria libellus (Booklet on the true glory) published in 1562 he deals with certain professions and criticizes them. Physicians are described as being garrulus (loquacious), mendicus (beggar), and having a big belly due to a luxury. The Physician doesn´t read books, is lazy and not characterized by his knowledge, but rather by ignorance, arrogance and pride. Physicians prescribe medications without knowing their effects. Such a criticism is surprising, because Macer Szepsius was probably closely related to medicine.

Strain Evaluation of Left Atrial Function: Ready for the Future?

Left atrial function is often under-evaluated in the standard echo examination, although this chamber plays a key role in heart function. Probably, mis or late diagnoses of atrial dysfunction are due to technical difficulties such as the thin wall thickness, the lack of robust parameters for functional assessment, and the number of factors potentially affecting or influencing the atrial activity. On the other hand, clinical studies have demonstrated that left atrial dysfunction heavily impacts on morbidity and mortality (1-3). Strain and strain rate imaging (S-SR) is a new echo technique able to study ventricular and atrial function. In particular, S-SR is capable of verifying the elasticity of the atrial wall, bearing in mind that increased atrial stiffness is linked to atrial fibrosis and (as a consequence) to higher arrhythmic risk. Many factors are involved in atrial stiffness such as age, diabetes, hypertension, valvulopathies, obesity, cigarette smoking, left ventricular diastolic function, left ventricular hypertrophy, myocardial infarction, arrhythmias, and dyslipidemia as well as its duration. In their study, Sahebjam et al. (4) found that hypertension was the only determinant of S-SR impairment, although in multivariate analysis, none of the parameters (including systolic and diastolic blood pressure) correlated with atrial S-SR. These data, as well as the differences with the studies cited in the article (5), are not surprising given the high prevalence of comorbidity after the fifth decade of life. In addition, disease duration, early diagnosis, therapy efficacy, class(es) of the drug used, and relative dose are all “confounding factors” and are as such hard to be controlled. For these reasons, very large cohorts are needed to give statistical power to such a complex multivariate analysis. The impact of a single factor on atrial S-SR could be studied in pediatric age (6), when comorbidities and drug use are less common. Unfortunately, in pediatric age, it is difficult to demonstrate the clinical relevance of the results obtained. On the other hand, large population studies on adults have shown that, independent of specific causes, impaired diastolic function is related to higher mortality and morbidity(7). The results obtained by Sahebjam et al. demonstrate that, despite normal left atrial volumes, S-SR is lower in patients with one or more cardiovascular risk factors, increasing the evidence of high sensibility of this technique for screening higher-risk patients in different morbid conditions (8). In this way, S-SR could be a precious parameter of a bad outcome: left atrial volume enlargement could be, in fact, late evidence of diastolic dysfunction, and, at that time, the fibrotic process may be (at least partially) irreversible. Limitations to a routine use of S-SR are due to interoperator and inter-software variability (between speckle tracking and tissue Doppler or between two different software packages), poor familiarity of peripheral cardiologists with the technique, costs of special echo machines and software, time needed for post-processing, and lack of age-related normal values. However, S-SR imagingremains an essential method for a better understanding of the mechanic of the heart, an excellent research tool, and reliable software to settle tricky differential diagnoses. If, at the moment, its use is relegated to third-level cardiology centers, software improvements (in terms of reproducibility and automation) could open the way toward a routine use in the future. Was this true glory? The high doom must be pronounced by times to come. Alessandro Manzoni, 5th May

Some Recent Place Compilation Documentaries

Thom Anderson, writer, director, producer. Los Angeles Plays Itself . Thom Anderson Productions, Los Angeles, 2003, not available on DVD, 169 min. Terence Davies, writer, director, narrator. Of Time and the City: A Love Song and a Eulogy . Hurricane Films, Liverpool, 2008, DVD, 73 min. Yael Hersonski, director. A Film Unfinished . Oscilloscope Laboratories, New York, 2011, DVD, 90 min. Home Movie Day . www.homemovieday.com/. Ken Jacobs, director. New York Ghetto Fishmarket 1903 . Tzadik, New York, 2007, DVD, 132 min. The Life of a City: Early Films of New York, 1898–1906 . http://memory.loc.gov/ammem/papr/nychome.html. Moving History . http://www.movinghistory.ac.uk/. Sagar Mitchell and James Kenyon. Electric Edwardians: The Lost Films of Mitchell and Kenyon . Oscilloscope Laboratories/Milestone Films, New York, 2009, DVD, 85 min. Peoples’ Stories: Liverpool Lives . http://www.peoples-stories.com. During the last decade, there have been a number of attempts to reconstruct historical places by assembling old film and video footage. The results provide architectural and urban historians with previously forgotten documentary evidence as well as an innovative vehicle for scholarship. While mainstream documentary film traditions have focused on capturing the present—especially in the classic city films such as Manhatta (Charles Sheeler and Paul Strand, 1921) and Chelovek s kinoapparatom / Man with a Movie Camera (Dziga Vertov, 1929)—an alternative tradition focused on capturing the past has also flourished. In his 1964 monograph Films Beget Films, Jay Leyda coined the term compilation film for this genre. The compilation film, according to Leyda, originated in 1898, when Francis Doublier assembled unrelated Lumiere shorts into a bogus documentary of the Dreyfus affair.1 The form reached an early peak in Padenie dinastii Romanovykh / The Fall of the Romanov Dynasty (Esfir Schub, 1927), and flourished during World War II ( The True Glory , Reed & Kanin, 1945, and the Why We Fight series, Frank Capra, 1942–45). After the war, NBC’s Victory at Sea (1957) established a compilation format that remains the default style of history documentaries on TV. In the last ten years, this format has come into vogue again in theaters. The movies discussed here illustrate some currently popular approaches to urban historiography via archival footage, which might be categorized as credulous, critical, appropriative, or investigative. The credulous approach, emphasizing what is represented in the footage, tends to present film as a nostalgia-laden artifact to be mined for details. Early cinema’s brief, unedited, storyless, and characterless views of people and places known as “actualities” are sitting ducks for this kind of appropriation (e.g., Ken Burns and Lynn Novick’s 2011 Prohibition ). But no movie is safe, and credulous zeal can leach …

Heroic Contradictions: Samson and the Death of Turnus

Heroic Contradictions:Samson and the Death of Turnus Maggie Kilgour At key moments in both of his epics, Milton seems to reject the type of heroism traditionally associated with the epic genre. In Paradise Lost 9 he dismisses tales that glorify destructive passions such as: the wrauthOf stern Achilles on his Foe pursu'dThrice Fugitive about Troy Wall; or rageOf Turnus for Lavinia disespous'd. . . . (14–17)1 His epic will celebrate instead "the better fortitude / Of Patience and Heroic Martyrdom" (9, 31–32). In Paradise Regain'd, the Son similarly claims They err who count it glorious to subdueBy Conquest far and wide, to over-runLarge Countries, and in field great Battels win,Great Cities by assault; what do these Worthies,But rob and spoil, burn, slaughter, and enslavePeaceable Nations. . . . (3, 71–76) True glory is achieved only "By deeds of peace, by wisdom eminent, / By patience, temperance" (91–92). The Son admits that he went through a stage when "victorious deeds / Flam'd in my heart, heroic acts. . . ." (1, 215–16). But this was a youthful phase, which he left behind as he matured and realized that it was "more humane, more heavenly first / By winning words to conquer willing hearts, / And make perswasion do the work of fear" (1, 221–23). In Paradise Lost, it is Satan who plays the part of the conventional epic hero, which the Son rejects for a higher form of heroism.2 While the War in Heaven was fought in the old classical heroic mode, the apocalyptic battle between good and evil will take a more spiritual form. As Michael (himself a fierce warrior in book 6) tells Adam, the final conquest will be achieved not through a big bashout "Duel" (12, 387) but "by obedience and by love" (403). [End Page 201] For many modern readers, who share the Son's distaste for military glory, Milton's apparent denunciation of brutality masked as valor seems reassuring. But this has created problems for reading Samson Agonistes. Milton's tragic figure is in many ways a throwback to the epic hero driven by "wrauth" or "rage," that his epics had denounced. Recent criticism of the play has been increasingly split. Some readers have seen Samson's final act as proof of his recovery of his insight and his fulfillment of God's plan, and Samson himself as "a hero of faith" who "secures his people's salvation by sacrificing his own life."3 Yet others have been more suspicious of Samson's last bloody act, and suggested that Milton means us to denounce, not applaud, Samson's actions. John Carey's recent and controversial comparison of Samson to a suicide bomber is an extreme version of a long-standing deep discomfort with this type of hero that readers of Milton, and indeed of the Old Testament original, have often felt.4 As Joseph Wittreich argues, while many readers have assumed that drama traces the "reconstruction" of the hero, it is equally possible to read it as showing the "deconstruction of Samson's supposed heroism."5 It is not unusual, of course, for heroes to be complex and even contradictory. Homer's heroes, Achilles and Odysseus, have generated conflicting interpretations. Achilles's behavior in the Iliad may be read either as the just resentment of a magnanimous soul who rightfully felt himself impaired, or as the sulky tantrum of a spoiled goon. While Odysseus was often allegorized as the wise man, to the Romans especially his wisdom was nothing but sneaky Greek cunning. Hercules, an important model for Samson, has always been especially ambiguous: the manly laborer who cleans the world of evils, the harrower of hell who is ultimately deified, is also a cross-dresser, madman, and murderer.6 These heroes were not simply accepted as ideals for imitation. The morality of their actions was debated in Renaissance theoretical discussions of classical characters (which raise the question too of whether or not the hero should be perfect) and in literary revisions of the epics, which often tried to rewrite central characters to resolve some of these ambiguities.7 It is typical of Milton that while he recalls...

Perpetually Out of Place: Michael Asher and Jean-Antoine Houdon at the Art Institute of Chicago

OCTOBER 120, Spring 2007, pp. 71–86. © 2007 October Magazine, Ltd. and Massachusetts Institute of Technology. In 1916 the Art Institute of Chicago placed an order with the Gorham Manufacturing Company of Providence, Rhode Island, to acquire a bronze cast of Jean-Antoine Houdon’s late-eighteenth-century statue of George Washington. The original marble statue had been commissioned in 1785 by the General Assembly of the Commonwealth of Virginia, as a result of its resolution the previous year to have a statue “erected as a monument of affection and gratitude to George Washington, who, uniting to the endowments of the hero, the virtues of the patriot, and exerting both in establishing the liberties of his country, has rendered his name dear to his fellow-citizens, and given to the world an immortal example of true glory.”1 Thomas Jefferson, who, along with Benjamin Franklin, was entrusted with the task of selecting the appropriate sculptor for the commission, reported from Paris on their selection of Houdon: “There could be no question raised as to the sculptor who should be employed; the reputation of Mons. Houdon, of this city, being unrivaled in Europe.”2 Describing Houdon’s fame and skill in a letter to Washington, Jefferson wrote, “A bust of Voltaire executed by him is said to be one of the finest in the world.”3 Prior to Houdon’s receiving the commission, Governor of Virginia Benjamin Harrison had arranged for Charles Willson Peale to paint a full-length portrait of Washington, which was sent to Jefferson in Paris.4 Houdon, however, preferred to model Washington from

Ancient templates: the classical origins of psychoanalysis.

In dreams The beastly and savage part (of the mind) ... endeavors to sally forth and satisfy its own natural instincts ... there is nothing it will not venture to undertake as being released from all sense of shame and all reason. It does not shrink from attempting to have intercourse with one's mother, or with any man, god, or animal. It is ready for any foul deed of blood... and falls short of no extreme of mindlessness and shamelessness ... there is in every one of us, even those who seem to be most moderate, a type of desires that is terrible, wild and lawless. While one might confidently assume that the preceding passage was written by Freud, it is startling to discover that it was composed by Plato two and a half millennia ago and appears in his masterpiece The Republic (1). Freud paid Plato appropriate homage by calling him divine, but interestingly asserted that his knowledge of Plato was fragmentary. Bergmann,1 however, has demonstrated that Gomperz's Greek Thinkers, with its extensive sections of Socrates and Plato, was cited by Freud as one of his favorite books. Further, Freud translated into German, John Stuart Mill's 1866, 67-page article on Plato. Freud, like many original thinkers, is not alone in denying intellectual ancestors and as a final convincing piece of evidence of the link between Plato and Freud, Bergmann juxtaposes a quotation from Plato with one from Freud. In Phaedrus (2) Plato states: I divided each soul into three-two horses and a charioteer; and one of the horses was good and the other bad: ... the right-hand horse is upright and cleanly made; he has a lofty neck and an aquiline nose; his color is white; his eyes dark; he is a lover of honor and modesty and temperance; and the follower of true glory; he needs no touch of the whip, but is guided by words and admonition only. The other is a crooked lumbering animal.... he has a short thick neck; he is flat-faced and of dark color; with gray eyes and bloodred complexion; the mate of insolence and pride, shaggered and deaf, hardly yielding to whip and spur. Now when the charioteer beholds the vision of love, and has his whole soul warmed through sense, and is full of the pricking and tickling of desire, the obedient steed, then as always under the government of shame, refrains from leaping on the beloved; but the other, heedless of the pricks and blows of the whip plunges and runs away, giving all manner of trouble to his companion and the charioteer. (pp. 253-254) In The Ego and the Id (3), Freud wrote: In its relation to the id it is like a man on horseback, who has to hold in check the superior strength of the horse: with the difference that the rider tries to do so with his own strength while the ego uses borrowed forces. The analogy may be carried a little further. Often a rider if he is not to be parted from his horse, is obliged to guide it where it wants to go; so the same way the ego is in the habit of transforming the id's will into action as if it were its own. The ego represents what may be called reason and common sense, in contrast to the id, which contains passions. All this falls in line with the popular distinction which we are all familiar with .... (p. 25) Bergmann suggests that Freud's term, popular distinction, can be used as a denial of the Platonic origins of this metaphor. Notwithstanding Freud's abjuration of any debt to Plato, it is clear that this ancient Greek philosopher anticipated the creator of modern psychodynamic theory when he articulated in The Republic a conflict model of the psyche in which instinctual drives represent a constant threat to rational behavior. Some years ago, Simon (4) demonstrated the presence of three main models of mind in ancient Greece, elements of which remain with us in contemporary psychotherapeutic and psychiatric practice. The first of these conceptual models Simon labeled the poetic (mainly Homeric). In the Homeric model there is no clear idea of mental structure, and, as in many preliterate societies, mental illness is viewed as something sent by wrathful gods from outside the individual. …

Perfecting the craft

Overlooking the Hudson River in far upper west Manhattan is a unique museum called The Cloisters. Composed of walls, columns, and courtyards reassembled from several old monasteries and convents from Europe, this imposing edifice contains the Unicorn Tapestries, arguably the finest extant specimens of Western civilization's weaving arts. Each tapestry tells a chapter of the story of the capture of the unicorn, speaking not in sound but in vision. Yet the true glory of these works lies not in the story told, nor even in the symbolism evoked, but in the intricate work that rendered countless different colored threads into such achingly beautiful cloth. Close examination of even the smallest part of one tapestry demonstrates how impossible the whole piece would be without the contribution of each thread, each knot. The Unicorn Tapestries are the ultimate triumph of the weaver's art, requiring not only the expertise of the tapestries’ immediate artisans, but also generations of contributions to perfection of the craft. Although most people who view the tapestries see only the final story, the discerning viewer sees the sweat and skill of the weavers. Although some may find it a bit of a stretch, I was reminded of the Unicorn Tapestries during last month's ASGT meeting. Medicine is truly more of an art than a science, and gene therapy researchers and practitioners are still at the stage of busily gathering up threads, selecting some and rejecting others. It stuck me that each presentation made was, in truth, a contribution to the eventual success of gene therapy. Every individual attending had a sense of what the final picture should be, and everyone also had at least one “thread” or one new “knot” which he or she believed would contribute to its completion. However, not every piece will fit, nor will each accepted piece contribute equally to the eventual success of gene therapy. Whether rejected or accepted, each does play a role in advancing the field. Despite gene therapy's early days, we can point to whole tapestries that are emerging, such as the work of Alain Fischer and his co-workers in treating SCID infants or the collaborative venture of Kathy High and Mark Kay and their co-workers in treating hemophilia. However, these stories can only be considered the success of “gene therapy” on one level. It is clear that ASGT is held together less by the notion of establishing an entire new discipline of biomedicine than by a shared devotion to perfecting the craft of gene therapy to weave new and different stories of biomedical triumph over disease. It is likely that someday there will be no field of gene therapy per se, but rather a set of exquisite therapeutic interventions finely tuned and differentially selected for human medical needs. To the casual observer, these will be merely further stories of the success of modern medicine, but to the discerning eye, the real credit will go to the artists who are even now—as the ASGT meeting demonstrated—working hard to perfect their craft.

The True Glory and the Failure of Anglo-American Film Propaganda in the Second World War

In an effort to promote an image of Allied unity on the eve of Operation Overlord, the Allied invasion of Western Europe, a Joint Anglo-American Film Commission was established with the goal of making a series of short documentaries on the liberation of the continent. Unfortunately, despite the prior planning, the plans for a series of joint films fell victim to competing ideologies about how to showcase the allied campaign. In an effort to salvage the situation the American film maker George Stevens was brought in to make a single long documentary, highlighting the campaign from D-Day to VE-Day. The resulting film, The True Glory, won an Oscar for best documentary of 1945, but in fact was the result of a failure of Allied film propaganda policy.

‘The Yanks Are Shown to Such Advantage’: Anglo-American rivalry in the production of ‘The True Glory’ (1945)

(1996). ‘The Yanks Are Shown to Such Advantage’: Anglo-American rivalry in the production of ‘The True Glory’ (1945). Historical Journal of Film, Radio and Television: Vol. 16, No. 4, pp. 533-554.

True Glory

True Glory

The rise and fall of British naval mastery and The true glory: the story of the Royal Navy over a thousand years

Journal Article The rise and fall of British naval mastery and The true glory: the story of the Royal Navy over a thousand years Get access The rise and fall of British naval mastery. By Paul M. Kennedy. London: Macmillan. 1983. 405pp. Index. Pb.: £6.95.The true glory: the story of the Royal Navy over a thousand years. By Warren Tute. London, Sydney: Macdonald. 1983. 288 pp. Index. £12.95. Peter Nailor Peter Nailor 1Royal Naval College, Greenwich Search for other works by this author on: Oxford Academic Google Scholar International Affairs, Volume 59, Issue 4, September 1983, Page 733, https://doi.org/10.2307/2619495 Published: 01 October 1983

“The Masterpiece of Policy in our Century”: Rousseau on the Morality of the Enlightenment

I N THE PREFACE to Narcisse, Rousseau redoubles the indictment against science and the arts for corrupting modern man put forth in his first Discourse and sketches some central themes for his second, On the Origins of Inequality. His major quarrel is with "the taste for letters and philosophy." In addition to the familiar charge that such pursuits "soften and enfeeble the body and the soul," Rousseau contends that philosophy makes virtue impossible, "snuffing out the love of our first duties and of true glory." The practice of philosophy isolates men from one another, "relaxing all the links of esteem and benevolence that attach men to society," ensuring that each practitioner "concentrates in his own person all the interest that virtuous men share with their fellows," so that "his self-love augments in the same proportion as his indifference to the remainder of the universe." Family and patrie are nothing to him; "he is neither kinsman, nor citizen, nor man: he is a philosopher."' These contentions disclose an aspect of the complex paradox of individuality and community in Rousseau's social thought quite different from the solitary walker constructing social systems from the lovely stuff of reveries. Here we have the notion that human ties of esteem, benevolence, and duty are in some sense social facts, threatened

Notes

AT the meeting of the Convocation of the University of London on Tuesday, the University was saved from committing an act detrimental to its best interests. The report of the annual committee condemning the recommendations of the Gresham Commissioners as to the reconstruction of the University was under consideration. It was urged by the supporters of the report that the rapidly increasing number of candidates who present themselves for the University examinations, was a sufficient argument against any change of constitution. We agree with Dr. Hart, that the University has raised the standard of education, that it has encouraged the aspirations of persons unable to bear the expense of residence in University towns, and that it has done much for the higher education of women. But the time has arrived when the University must become more than a mere examining body, if it wishes to keep pace with the times. Members of Convocation who are jealous of the prerogative position at present occupied should look around, and then ask themselves whether London ought not to have a teaching University like those of other capitals in Europe. A mistaken idea as to the dignity of the University should not be allowed to stand in the way of the proposed developments. It would be far more dignified to accept the changes, unless, indeed, the University of London desires to find itself eclipsed by another with a charter more suited to the requirements of to-day. Some of the most eminent members of Convocation recognise the necessity of the old order giving place to the new. Prof. Sylvanus Thompson pointed out that when functions were, as in the case of London University, extremely limited, they should be extended. “Why should not,” he said, “the University perform all those great duties of encouraging research and learning and of teaching, which were an essential part of a true University. He hoped the matter would be approached in a temperate spirit, and that they would not stand on a mistaken notion of their dignity. There might be blots on the scheme which they should seek to remove, but was it wise to oppose the scheme in a thoroughly hostile spirit? Let them beware of showing such a spirit, for it might be that a new University would arise, discharging all the functions of a University, and the present University of London might be left in the cold. The substitution of a new charter for an old did not, as they knew from past experience, impair the continuity of their existence. It would be a great pity if two Universities should arise—one not called by the name of the capital, but doing all the work of a University, whilst that which was called the University of London was restricted to the narrow sphere of examinations.” Mr. Thiselton Dyer also supported the recommendations of the Royal Commissioners, rightly remarking that the scheme would enable the University to develop its full powers, especially in the department of post-graduate study, in which lies the true glory of a University. The resolution of the annual committee, protesting against the withdrawal of the present charter, was eventually set aside by an almost unanimous vote. This is satisfactory as far as it goes, but it does not dispose of the matter in a very effective manner. A motion was afterwards proposed by Sir Albert Rollit, in the following form:—“That, with a view to the speedy and satisfactory reconstitution of the University, it is desirable to secure, if possible, the co-operation of the Senate and Convocation, and with this object Convocation refers the whole question of the reconstitution of the University to the annual committee, with power to nominate members of a joint consultative committee of the Senate and Convocation.” This was unanimously adopted; so the University is once more given the chance of reconsidering its policy, and of gracefully accepting the proposed changes before they are forced upon it.